Hardy's works take place in Wessex (named after the Anglo-Saxon kingdom which existed in the area). One of his distinctive achievements is to have captured the cultural atmosphere of rural Wessex in the golden epoch that existed just before the coming of the railways and the agricultural and industrial revolutions that were to change the English countryside for ever. His works are often deeply pessimistic and full of bitter irony, in sharp contrast to the prevalent Victorian optimism.
John and Jane
I
He sees the world as a boisterous place
Where all things bear a laughing face,
And humorous scenes go hourly on,
Does John.
II
They find the world a pleasant place
Where all is ecstasy and grace,
Where a light has risen that cannot wane,
Do John and Jane.
III
They see as a palace their cottage-place,
Containing a pearl of the human race,
A hero, maybe, hereafter styled,
Do John and Jane with a baby-child.
IV
They rate the world as a gruesome place,
Where fair looks fade to a skull's grimace, -
As a pilgrimage they would fain get done -
Do John and Jane with their worthless son.
The Problem
Shall we conceal the Case, or tell it -
We who believe the evidence?
Here and there the watch-towers knell it
With a sullen significance,
Heard of the few who hearken intently and carry an eagerly upstrained sense.
Hearts that are happiest hold not by it;
Better we let, then, the old view reign;
Since there is peace in it, why decry it?
Since there is comfort, why disdain?
Note not the pigment the while that the painting determines humanity's joy and pain!
We who believe the evidence?
Here and there the watch-towers knell it
With a sullen significance,
Heard of the few who hearken intently and carry an eagerly upstrained sense.
Hearts that are happiest hold not by it;
Better we let, then, the old view reign;
Since there is peace in it, why decry it?
Since there is comfort, why disdain?
Note not the pigment the while that the painting determines humanity's joy and pain!
To Lizbie Browne (excerpt)
I
Dear Lizbie Browne,
Where are you now?
In sun, in rain? -
Or is your brow
Past joy, past pain,
Dear Lizbie Browne?
II
Sweet Lizbie Browne
How you could smile,
How you could sing! -
How archly wile
In glance-giving,
Sweet Lizbie Browne!
III
And, Lizbie Browne,
Who else had hair
Bay-red as yours,
Or flesh so fair
Bred out of doors,
Sweet Lizbie Browne?
The Woman in the Rye
"Why do you stand in the dripping rye,
Cold-lipped, unconscious, wet to the knee,
When there are firesides near?" said I.
"I told him I wished him dead," said she.
"Yea, cried it in my haste to one
Whom I had loved, whom I well loved still;
And die he did. And I hate the sun,
And stand here lonely, aching, chill;
"Stand waiting, waiting under skies
That blow reproach, the while I see
The rooks sheer off to where he lies
Wrapt in a peace withheld from me."
Cold-lipped, unconscious, wet to the knee,
When there are firesides near?" said I.
"I told him I wished him dead," said she.
"Yea, cried it in my haste to one
Whom I had loved, whom I well loved still;
And die he did. And I hate the sun,
And stand here lonely, aching, chill;
"Stand waiting, waiting under skies
That blow reproach, the while I see
The rooks sheer off to where he lies
Wrapt in a peace withheld from me."
To Carrey Clavel
You turn your back, you turn your back,
And never your face to me,
Alone you take your homeward track,
And scorn my company.
What will you do when Charley's seen
Dewbeating down this way?
- You'll turn your back as now, you mean?
Nay, Carrey Clavel, nay!
You'll see none's looking; put your lip
Up like a tulip, so;
And he will coll you, bend, and sip:
Yes, Carrey, yes; I know!
And never your face to me,
Alone you take your homeward track,
And scorn my company.
What will you do when Charley's seen
Dewbeating down this way?
- You'll turn your back as now, you mean?
Nay, Carrey Clavel, nay!
You'll see none's looking; put your lip
Up like a tulip, so;
And he will coll you, bend, and sip:
Yes, Carrey, yes; I know!
Autumn in King's Hintock Park
Here by the baring bough
Raking up leaves,
Often I ponder how
Springtime deceives, -
I, an old woman now,
Raking up leaves.
Here in the avenue
Raking up leaves,
Lords' ladies pass in view,
Until one heaves
Sighs at life's russet hue,
Raking up leaves!
Just as my shape you see
Raking up leaves,
I saw, when fresh and free,
Those memory weaves
Into grey ghosts by me,
Raking up leaves.
Yet, Dear, though one may sigh,
Raking up leaves,
New leaves will dance on high -
Earth never grieves! -
Will not, when missed am I
Raking up leaves.
1901.
Raking up leaves,
Often I ponder how
Springtime deceives, -
I, an old woman now,
Raking up leaves.
Here in the avenue
Raking up leaves,
Lords' ladies pass in view,
Until one heaves
Sighs at life's russet hue,
Raking up leaves!
Just as my shape you see
Raking up leaves,
I saw, when fresh and free,
Those memory weaves
Into grey ghosts by me,
Raking up leaves.
Yet, Dear, though one may sigh,
Raking up leaves,
New leaves will dance on high -
Earth never grieves! -
Will not, when missed am I
Raking up leaves.
1901.
from "The Mother Mourns"
When mid-autumn's moan shook the night-time,
And sedges were horny,
And summer's green wonderwork faltered
On leaze and in lane,
I fared Yell'ham-Firs way, where dimly
Came wheeling around me
Those phantoms obscure and insistent
That shadows unchain.
Till airs from the needle-thicks brought me
A low lamentation,
As 'twere of a tree-god disheartened,
Perplexed, or in pain.
And, heeding, it awed me to gather
That Nature herself there
Was breathing in aerie accents,
With dirgeful refrain...
And sedges were horny,
And summer's green wonderwork faltered
On leaze and in lane,
I fared Yell'ham-Firs way, where dimly
Came wheeling around me
Those phantoms obscure and insistent
That shadows unchain.
Till airs from the needle-thicks brought me
A low lamentation,
As 'twere of a tree-god disheartened,
Perplexed, or in pain.
And, heeding, it awed me to gather
That Nature herself there
Was breathing in aerie accents,
With dirgeful refrain...
Where they Lived
Dishevelled leaves creep down
Upon that bank to-day,
Some green, some yellow, and some pale brown;
The wet bents bob and sway;
The once warm slippery turf is sodden
Where we laughingly sat or lay.
The summerhouse is gone,
Leaving a weedy space;
The bushes that veiled it once have grown
Gaunt trees that interlace,
Through whose lank limbs I see too clearly
The nakedness of the place.
And where were hills of blue,
Blind drifts of vapour blow,
And the names of former dwellers few,
If any, people know,
And instead of a voice that called, "Come in, Dears,"
Time calls, "Pass below!"
Upon that bank to-day,
Some green, some yellow, and some pale brown;
The wet bents bob and sway;
The once warm slippery turf is sodden
Where we laughingly sat or lay.
The summerhouse is gone,
Leaving a weedy space;
The bushes that veiled it once have grown
Gaunt trees that interlace,
Through whose lank limbs I see too clearly
The nakedness of the place.
And where were hills of blue,
Blind drifts of vapour blow,
And the names of former dwellers few,
If any, people know,
And instead of a voice that called, "Come in, Dears,"
Time calls, "Pass below!"
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